Looking Back MJVAX 2010
Introduction
SATO: Everyone, you must be tired from the Malaysian tour. Though a lot happened, lets
look back at some of the memorable events. I will explain how and why this tour happened
in an appendix, so lets narrow down to sets of episode in Malaysia for now. You can startfrom the preparation period too.
TAKI: I enjoyed touring with members rarely in one boat even in Japan. Lately, I hadn’t
been able to put a show in Japan, and for some time we had no chance to work only withvideo artists, didn’t we?
SATO: As it worked out, I think touring with this party was successful. Last year, many
artists took part in the presentation for this tour. Selection was finally made with Malaysianside’s consideration, or with Naguib’s reply, because he was also at the presentation.
When actual itinerary was announced, many practical issues came out, like duration,lecture handling, and as-yet decided things. But we were members capable of divvy up
and respond to such matters.
TAKI: Being responsive to troubles is important, isn’t it?
SATO: When someone in a team makes some blunder or hasty change, nothing resolves
by beefing. For this tour too, I wanted to proceed in friendly atmosphere as much as
possible. Though a lot happened this time, I am truly thankful for all responded flexibly.
NAKAZAWA: I regarded you all as “grown up” artists. We were a team that could flexible
to any situation and even enjoy happenings. To put it better, I glimpsed creativity in it.
TAKI: On the exhibition. Showing both installations and single channel works in thesame project was a rare case. It’s rare even in Japan except exhibition on broad scale.
The encounter between Malaysians whose video art will develop from now on, andJapanese, who have kept working on video art in Tokyo, was also interesting.
SATO: We didn’t consider ourselves representatives of Japan. We happened to lay ahand on video art at the same period, and thereafter we kept screening video art in SpreadVideo Art Project and Videoart Center Tokyo. It doesn’t represent the Japanese movement,
rather we brought individual motivations together and happened to be tied up as aninternational exchange. It was like a shotgun marriage.
TAKI: That’s the best way, I think. When you try to do an exchange like a marriage
hunting, you will invite various biases.
HATTORI: I agree. Delivering both installation and screening was nice. Even that didn’t
start from a purpose, and it wasn’t like “we want an exhibition at any cost”. Because there
was relationship at first, then the exhibition was born as it’s extension.

Boundary between art and documentary
TAKI: Though I didn’t know a root cause, it was interesting to know that the initial
motivator was not video art but Yamagata Documentary Film Festival. We must report thisto Ms. Asako Fujioka.
I also found Mr. Sato’s position in video art scene is interesting. When Mr. Oe and I had apresentation at 12 art space, Rupesi discussed on topic “Documentary or Videoart?” Thattime questions flocked to Mr. Oe. “How come did you start from documentary and come tovideo art?” Because we are familiar with Matsumoto Toshio’s works and writings, weunderstand that both are on the same horizon. We have been thinking our stance wasnatural, but this project became a good chance to re-verbalize and be reminded of the “Artor Documentary” issue.
HATTORI: Mr. Sato, you also started from documentary making. I remember your firstwork was a documentary.
SATO: Yes, it was a documentary of a Butoh dancer. Luckily on my case, while I studied
video art at university, in the same research room there was a professor studying
documentary films. So I could develop my interest in both fields since my early stage.
TAKI: Though, essentially, there is no borderline, in this world they draw a line in between.
In my interpretation, actually there are three categories: contemporary art works using
video, video art works, and documentaries. But the lines are drawn arbitrarily.
SATO: I feel 60’s Japanese artists had less barriers than today. Matsumoto Toshio was no
doubt. For Shinsuke Ogawa too, documentary happened to be his exit, but he also
directed narrative films. A cameraman Masaki Tamura, Kazuo Kuroki and young Nagisa
Oshima were all the same, right? They moved in and out flexibly, as they wereexperimenting in movie making. Now, there are more walls made by audience againststyles. For example, there seems to be preconceived ideas “a video activist means
problem conscious documentarist”.
Malaysian artists we met this time, they had various problem consciousness on both racialand social issues. Their installations, or single channel works, I suspect, were based onthat consciousness. In Japan too, I think younger artists are more open to such ideas.
NAKAZAWA: Speaking of Matsumoto Toshio, he was one of the first people to use theterm “EIZOUSAKKA”. I think, this definition of an artist title is an original aspect ofJapanese video art and film scene and it's very interesting. I referred to this topic in a
lecture at USM, too. The technical boundary between video and film today is unclear. In
film industry today, it's become usual to use video in their productions. That is to say ameaning of titles "film-maker" and "video-artist" is becoming indefinite. In such a situation, I
think, the time has come to reconsider “what we are doing”. I was impressed that Sharon
responded to this topic, and I realized that other Japanese members has been actuallyusing the title “EIZOUSAKKA” for themselves in Japan.
TAKI: Viewers define aside from artists’ stance. Like, this person is not an artist but anactivist. Mass media follow them because it’s easier to introduce. Critics and their stances
are important as well, only few observes art scene multilaterally. Ms. Saito, how did you
see this event?

SAITO: I aware there are boundary problems within contemporary art. I felt this event in
Malaysia was precisely a moment when such boundary melted. If I think of a couple ofreasons why such was accomplished, firstly it would be because all artists faced with eachother open-mindedly, and secondly because the hosting frameworks were open at both in
Malaysia and Japan.
TAKI: That was, probably because main three (Sato, Hattori, and Tanaka) had gradually
Malaysianized.
HATTORI: Were we Malaysianized insidiously?
TANAKA: Frankly, I think the audience couldn’t tell such boundaries. If works were on amonitor, they felt like watching a TV program.
SAITO: I think there was synchronicity among artists. Though they took different stances, I
sensed common awareness that they make video works in this era.
TAKI: I had no chance to look at everybody’s work recently.
HATTORI: I was glad that Ms. Nakamura completed her latest work in KL.
NAKAMURA: Let’s talk about it bit later.
Official Ceremony
TANAKA: Speaking of hosting frame work, I enjoyed the official ceremony.
TAKI: Me too.
NAKAMURA: I vividly remember the official ceremony. As if it were the main event.
“Official event is very important.” This was the message I got.
SATO: You mean specifically the opening reception at National Art Gallery, and as well
welcoming ceremony at UiTM lecture. Right? They were certainly shocking.
I suspect Naguib had an intention to register this event as an official Malaysian event. Forus, having a show at N.A.G was indeed thankful, but rather we were hoping the event tobe held at a gallery or free space in town. Because Naguib played up with political aspectof Malaysia, I think he considered that the event would be more recognized by going
through formal protocol at N.A.G.
NAKAZAWA: For long time, i have been thinking our activities were
“underground“ (laughs). But in Malaysia we were introduced as major artists. I enjoyed that
gap.
TAKI: Since there were many press people, I want to know how we were introduced. You
want to see the published materials, don’t you?
SATO: I asked for a copy, but it hasn’t arrived yet. How about the radio recording?
HATTORI: Ms. Nakazawa and I were featured on a radio program. We talked with Richard
Bradbury of BFM radio. Though I made a pitch with all my might..., i haven’t got a copy yet.
NAKAZAWA: In fact, that is true. I guess he forgot to...

MMU
HATTORI: One hour bus drive from KL, there is a city named Cyber Jaya, where IT
companies are attracted in bulk. Multi Media University is located in the city and Siewwai works there. Mr. Tanaka talked at this university because students there were mostly
majoring in animation.
TAKI: How was students reaction?
TANAKA: Their understanding of animation is that it is something drawn by hand in
sheets. I was told beforehand that my target audience would be students learning
animation. So I brought classic animation works too. Those works by Georges
Schwizgebel and Norman Mclaren. Including my animation works, I presented them in two
groupings: “drawing” and “stop-motion”. At the end, I showed a piece made by BLU, an
italian graphic team. They drew directly on street walls and roofs and made it into stop
motion animation. Its scale was so big. After showing this, Siew-wai told me that thecontrast was very good, because just before my talk students took a classic animation
class that defines “animation was drawn by hand in sheets”.
TAKI: It means the diversity was obvious, doesn’t it?
TANAKA: Students themselves categorized in that way too. I was not sure they just didn’tknow, or didn’t want to know. For example, there is a Malaysian animation, like Wong Hoy
Cheong’s “dog hole”, that combine live-action and animation. I love such piece, so I
wonder if they have watched it or not.
HATTORI: But students showed practical face as well. They raised questions like, “canyou live on making experimental pieces?” Or “What does ‘gazing’ mean in Mr. Tanaka’s
context?” Those that Mr. Tanaka was muddled up to reply.
TANAKA: I didn’t tell them concepts of my art practice. But topic shifted to relationshipbetween “vision” and “gazing”, I was surprised so that I replied “why do you know myconcepts?” Might somebody handed out written materials?

ART SCENE in Malaysia
SATO: What kind of impression did you have, Mr. Oe?
OE: For one thing, I was delighted by hospitable welcome by all on-site. Even when I
arrived in Penang, Wenning Cha of N.A.G. picked me up at the airport. My first impression
was that I was taken care of in various ways.
SATO: That maybe because Naguib made this exchange as formal event by including
N.A.G. That was his achievement.
OE: Naguib helped me a lot in setting up my installation. And I appreciated it very much.
NAKAMURA: At the end, he came to KL airport and said that he was sorry about not
being able to do much as he wanted to.

TAKI: It seems that Malaysian side was not a monolithic.
NAKAMURA: But all other artists said, all the while they didn’t know each other well, sothey were happy to work together for MJVAX.
SATO: It seems there were many problems on Malaysian side. But with this string of
events, artists who didn’t work together before became a team. I think that is one ofaccomplishment. It seems our intermediation triggered it as well.
They spent time in Tokyo as if in a training camp. And they become the nucleus of thistime. They were a team and not divided in a group of Malay or Chinese. That wasinteresting for us, and seems like it was new for them as well.
OE: On Malaysian works, beginning with Nur Hanim’s piece, they were verystraightforward. Though the most difficult piece was Nur Hasnul’s, I wanted to find more
like his that are incomprehensible. When I toured galleries in KL, I found most of them verystraightforward.
NAKAZAWA: In my impression, Malaysian installations told me very clearly. In the videoof Nur Hanim’s, a woman tries to tell something, but she can’t or isn’t allowed to verbalize
it. I suppose, it is a piece about a female situation in Islamic society. It's possessed bysomething like looming psychokinesis but also very elegant piece. In Hasnul’s piece, I feel
his own struggles. While he pays his respect to society, circumstance, tradition and all that
nurtured him, yet he is still bounded by them. And also I see difficulty and toughness ofliving with such a contradiction. But those elements were put together into a very simple
and beautiful form, this was very impressive. However, I noticed that it was his pieceafter I had came back from Penang... I regret that I lost a great chance to question him in
detail.
NAKAMURA: Were there some traditional paintings?
TAKI: There were places showing works of such category, like traditional crafts. I felt manythings were jumbled up in the contemporary art scene, including copies of existing artists.
Maybe, such genres are divided too much in Japanese art scene, aren’t they?
SATO: We also watched young artists’ works in Penang. I think those were jumbled aswell. Like, some do ink-wash painting, some was extremely abstract, some did graffito, I
had an impression that various influences were directly visible. They were like a graduate
works exhibition of an art academy. They were like an exhibition that gathered all juvenile
expressions.
NAKAMURA: USM museum had a such great diversity. It really got to me. I loved astroroom. Hasnul told me he wanted to deal with both science and art. Its homemade-looks
added more charm. There were everything from fossils of early man to a space ship.
HATTORI: By completing rooms under expansion last year, the gallery grew even bigger.
SATO: I get emails from the museum once in a while, and they focused on kids program
as well. I find their concept very amusing. They invited children to the university and tour
the museum.
HATTORI: When we visited, groups of students were laying down and collaborating.
Though it was an university class, I remembered it well. They use the museum not just as
an exhibition space but also as a work space.

SATO: On big piece of paper, students drew their own past and future.
TAKI: It must be functioning as a local community center.
HATTORI: That can only be accomplished with Hanul’s leadership. Young staffs were likebusy bees.
SATO: Between Hasnul and staffs, they had close kinship, like a boss and his henchmen.
At the lecture hall, though staffs already prepared 200+ chairs beautifully, with his one
voice, they took them all away. He said students would defocus quickly if they sat on
chairs.
HATTORI: We entered the hall for preparation and were discussing placement of ourchairs. Because the layout had very university like formal feel. So, I asked Hasnul about
usual seats arrangement, he told me “if students sit on chair, they will last only for 20
mins.” And while we were having lunch, all chairs were gone. I was sorry for staffs, butthey did it so quick.

NATION and Regulation called Malaysia
SATO: What kind of impression did you have, Ms. Nakamura?
NAKAMURA: Because I went Malaysia without prior knowledge, I was expecting a
condition more similar to Indonesia. (The two have similar language.) But actually, but nowonder, it was quite unique, and I was surprised in many ways. Well to start with what
would it be...
It was totally unmixed, beginning with Malay and Chinese, I just felt like they lived apartfrom each other. Thus, it was incredibly multi-lingual society, and I found it very interesting.
Siew-wai and Sharon could speak 4 to 5 different languages, and I heard that typicallypeople could speak at least three. So among Malaysians, they chose one language
according to their speech partner: like one to speak in English, Beijing, or Malay. First I
thought this condition was bipolar of ours in Japan, but by contraries, I felt maybe this was
similar because in Japanese language we also change first person, second person, andhonorific according to a speech partner.
When Siew-wai told me “We don’t think in one language. We try to get answer in different
language. Thus, we can’t master any one language,” it was striking for me. But it also
made me think about Japanese language.
NAKAZAWA: I agree. I had mixed feelings by watching a society divided into each race.
I had heard that it was a mixed-race nation, but wasn’t actually. Though it is coexistence
maybe, they live separately. Also, the language situation was interesting. I wondered, how
could their thinking progress? In which language? I asked this question to Sharon, and she
said with laughing “Yeah, I wonder, too.” On the other hand, this situation could be a big
hint for me to live in a circumstance where I don't speak my mother tongue, Japanesedaily. Now I've got a confidence about my actual condition.
SATO: I also thought about relation between regulation of country and people living. In
Japan as well, beginning of Meiji government, from our religion to life guidance, newregulations were issued that drastically changed our life styles. But in reality, they did not
penetrated through all local areas. There were people living with their own rules. We
visited demolished Pudu Prison, didn’t we? A market near by was amazing. Though thenational religion of Malaysia was Islam, in the market vigorous Chinese people wereselling pork, duck, and fish, all together. Opening meat side by side. There were big
Buddhist temple, Hindu temple, and Church in each racial neighborhood. I found suchcoexistence was interesting.
TAKI: Historically, there was a major racial struggle. There is a censorship to hide these
histories. I don’t know specifics of the censorship, but I guess they censor issues like racial
problems and prostitutions. I think the government worries another confrontation may
break out by problems become public.
HATTORI: Advocating “one malaysia,” Sharon’s dad was preaching Masnoor “I respect
you, but an artist must have no taboos, and must initiate a change!” Sharon was rattled
and defending Masnoor, as a friend.
SATO: He achieved a restaurant franchise in one generation, and throughout his carrier
he has been facing this as a real problem. “Our problems won’t be taken as a national
problem.” “It will be turned into Chinese problem,” “Please resolve them within Chinesesociety”, such climate may still exist today.

Possibility of Collaboration
NAKAMURA: How was Malacca, though I couldn’t attend?
TANAKA: I exercised in my performance with newly developed application "Xavieriser".
HATTORI: Previous night, including Mr. Sato, three of us had a discussion. And concluded"It can’t be the same as the KL performance. Tomorrow, Mr. Tanaka must do somethingnew." Well then, he started to think of new video application.
NAKAMURA: Why "Xavieriser"?
TANAKA: Because I was in Malacca.
HATTORI: Easy. There was St. Xavier Chapel.
SATO: Including Tokyo event last year, Mr. Tanaka did most of collaborative works with
Malaysian artists.
TANAKA: At the time of Tokyo, I was very conscious about doing it "right". We discussed
on themes beforehand, had an outline, then we met and worked together. We had enoughmaterial gathered based on individual concept. That was more acceptable.
I am not saying this time was "not right". Though we agreed on "do things together",elements in the improvisation were too much. Also in performance this time, nothing was
decided beforehand.
NAKAMURA: Using Illustrator in real time was also an improvisation?

TANAKA: Though I didn't tell them, I made up my mind beforehand. Do things I never
have done before. I was lucky to take part in two different performances.
NAKAMURA: You didn't use a video camera that Naguib prepared.
TANAKA: I used it in the 2nd one. I only had a brief dialogue with Kamal in the bus on theroad. I was thinking what to do after that. Actually, I had little materials for the performancein my laptop.
NAKAMURA: I enjoyed a video made with Illustrator. Do you think audience knew you are
drawing on the location?
TANAKA: I guess they knew.
SATO: I think the relation between dance and other elements is pretty difficult.
NAKAMURA: Dance, video, music and voice, with such various elements, it must be
difficult.
TANAKA: It’s difficult, when only elements been placed in unfocused condition.
SATO: Each artist can do something. But, "react to what?" Even an improvisation needs
an outline. So Kamal's performance was, because his core was music, everybody could
react and focus.
NAKAMURA: I thought, Mr. Tanaka's decision, not to shoot dancers, was interesting.
TANAKA: At first, I had an idea using it as my source video, but I decided not to during therehearsal.
SATO: I think improvisation will go wrong when each participant becomes overconfident.
Like expecting someone will give me a cue, or I am giving it. When such balance go off the
track, it will go wrong. I think at least a track is necessary.
TAKI: I think improvisation is especially difficult for a dancer. Though a musician can see
and hear what’s going on on a stage, a dancer can’t. He has now fixed view points onstage. So he relies on his own method, then he tends to do his routine.
NAKAMURA: One alternative is make dancers the focus of a performance.
HATTORI: Near the end of Kamal's performance, someone suddenly started to dance inaudience seats. His unexpected movement was interesting to me. Though I was surprised
at first sight, watching him for a while, I figured he was actually a dancer. I think Kamal's
stage had such clear structure.
TANAKA: If you have a clear structure, then some can get off track from the stage.
SATO: I think improvisation is something like a "fracture". It has a form, but there are also
parts almost broken, and anyone can break it anytime, in anyway. Such has been staged,
anybody can start to drift.
TAKI: You can think that way because Kamal's performance was mostly music.

NAKAZAWA: Hmmm. I was not inclined to improvisation, but I am attracted and interested
in it recently. So all performances were very helpful for me. I learned a lot. Thanks for the
instruction!
HATTORI: Talking about improvisation, I started to think our tour was improvisationaloverall.
NAKAMURA: Wonderful wrap up!
SATO: Well then, Mr. Hattori please wrap up beautifully.
HATTORI: I was at ease throughout this tour. Looking back in the past, I tried to do toomuch by myself, and bobbed up and down. But this time, both Malaysian and Japanese
members contributed in various ways, and I guess that worked very well.
TAKI: Regarding to exhibition and screening, I think we should have asked for more. Like
DVD was not playing right, or screening schedule was not set. Considering our
relationship from now on, I think those were things we should let them know.
SATO: It was not clear to whom National Art Gallery was presenting MJVAX. I had an
impression the exhibition was held for those involved, and not so much for the audience.
“If the official opening was done right, everything is OK!”, so I felt. I reglet that I shouldhave planed an extended screening program. In it, somebody talk after each screening
program. By doing so, N.A.G. might have given a bit more efforts on our screening
program as the hosting organization.
HATTORI: When we arrived in KL, we should have arranged a time to meet and havelunch with all staffs involved in MJVAX. We were not in relationship to let them know what
our exchange was all about.
SATO: It was even better if we could make “let’s do it together” atmosphere. I guess whole
picture of this event was not infiltrated enough among the gallery staffs.
Though there were so many happenings. We must thank all the Malaysian artists who put
their efforts despite their busy days, and Mohad Naguib Razak and Hasnul J Saidon who
arranged events and lectures, and Kyoko Kugai who took care of us for almost entire
duration of the trip.